Flowing to the ancient ferry in Guazhou,

Wu Shan is a little sad.

Think long and hate long,

I hated it until I came back,

Yueming people lean on the building.

Annotation of works

Precautions:

This song "Sauvignon Blanc" is about a woman who leans against the building and is pregnant with people. In the dim moonlight, the landscape that caught her eye,

Full of sadness. The first three sentences use the word "flow" to write the twists and turns of water, and also create a deep charm.

The following two "youyou" are used to increase the length of melancholy. Write "love" with "hate" and use simple and fluent language.

Words, harmonious temperament, show the complex feelings of characters. Especially the flowing moonlight highlights the sadness.

The atmosphere enhances the artistic appeal and shows the characteristics of this little word, which is concise and shallow.

Bai Juyi's Pecking Wood Song

Don't buy expensive scissors. I'm afraid it's a waste of money, and I know you can't cut them.

Don't grind the cone, it's useless. I have a knot in my intestines, and I know you can't solve it.

Don't dye the silk thread red, praise the good color. I have a pair of tears, I know you can't wear them.

Don't go near the stove, angry people will force you. I have temples cream, so I know you can't sell it.

A knife can't make shear center sad, and a cone can't untie the intestinal knot. Thread can't break tears,

Fire cannot sell the snow on the temple. It is better to drink this cup of holy water and have a rest.

Zi Liao:

I. Finishing work

The greatest achievement of Bai Juyi's research in Japan is the progress in collating Bai Juyi's Collected Works. In order to facilitate the discussion, the writing process and the characteristics of the main versions of Bai Wen Ji are introduced as follows.

Bai Juyi's collected works have been edited several times. In the fourth year of Changqing (824), Yuan Zhen compiled 50 volumes of Bai Changqing Collection. The first twenty volumes of this collection are poems and the last thirty volumes are essays. In the ninth year of Daiwa (835), it was compiled into 60 volumes of White Anthology. From then on, Bai's anthology is called Bai Anthology. This episode is not a simple addition of ten volumes, but the poems added by each prime minister are arranged after the volumes with similar contents in Changqing Collection. The following year became the first year (836), with sixty-five volumes and sixty-seven volumes in four years. In the second year of Huichang (842), when Bai Juyi was seventy-one, he compiled seventy-five volumes.

These seventy-five volumes have long been lost. At present, the 7 1 volume originated from Li Congrong's manuscript in circulation.

Shortly after entering the Northern Song Dynasty, there appeared "poetry before writing". During the Southern Song Dynasty, Bai Juyi's original editions "Before and After" and "Before Writing Poems" were very popular. In the Ming Dynasty, the "pre-follow-up" was drowned out by "poetry before writing".

After that, for a long time, when reading Bai Juyi's poems, both in China and Japan, it was customary to use Ma Yuan to tune this version. This horse book is a poem before writing. His ancestral book Shaoxing Book of Southern Song Dynasty is also a poem before writing. Its compilation is quite different from the original collection edited by Bai Juyi himself.

On the contrary, in the fourth year of Japanese Yuanhe (16 18), Nabokov was printed according to the Korean version (1929 divided into four series), and the original editing appearance was retained. However, the similarity between the word "Ma Ben" and the word "Ma Ben" is often mistaken by later generations, and Bai Juyi has cut it from his own notes. After Cen concluded that Naboben was a book edited casually by the Japanese, Chinese academic circles still underestimated the book.

Ari Oota also pointed out in the article "On the Collection of Books in the Cabinet" (Stowe Library 9,765,438+0.12) that the book "On the Collection of Books in the Cabinet" has a more historical sense and its status has improved. The author said that Hiraoka and Fanghua presumed that this book was based on the Northern Song Dynasty edition, but its words were not quite the same as the Song Dynasty edition, except for a part, which was very similar to Kanazawa Library Edition and Wen Yao Manuscript, so it could be regarded as a book that preserved the old manuscripts.

Ota used a correct understanding of the origin of Kanazawa Library and my humble opinion manuscript as a weapon, and also promoted the collation of other old manuscripts and various publications. His work can be divided into the following three categories: (1) book research in Kamakura era; (2) The study of new Yuefu books; (3) Research on the books such as Song of Eternal Sorrow and Biography of Song of Eternal Sorrow.

Among all kinds of book studies in the Kamakura era, the most important paper is Bai Anthology (history 45-4, 73. 10). The author thinks that the original version of Bai Wen Ji cited in Zheng Shi lue is very close to my humble opinion. Since this book was written in 1062, it is very likely that the White Anthology was published in Japan in the early years of the Northern Song Dynasty.

In the study of new Yuefu books, the article "On Shi Lang's Collected Works of Kanda Yoshiichi, Volumes 3 and 4" (Story Collection Story14,77) is particularly important. The author restored the original Kanda (the text before revision) and found that this book is similar to the Song version in many places. Explaining this phenomenon, he said, "We should not think that the transcript has been changed into words similar to the Song version, but that the Song version itself is very similar to the Tang version."

On China's Tibetan Texts and Their Training and Reading (Story Collection16,79) discusses the relationship among texts, old manuscripts and Song texts. Firstly, the author sorts out the problem of how the Collection of Bai Wen changed during its circulation, and then points out the following points: (1) According to Bai Juyi. (2) It's not clear whether the Northern Song Edition was spread to Japan, but there is no doubt that Japan has its copy. Therefore, although the text and proofreading seems to be based on the transcript, sometimes it is actually based on the heavy transcript of the Northern Song Dynasty. (3) In China, well-known poems such as "New Yuefu" and "Song of Eternal Sorrow" have long been popular as singles, and the original texts have also been changed. In a word, it is a very complicated work to study the original text of Selected Works. According to the collating results, the author also points out that: (1) There is no poem in the old banknote, which may be a collection edited by Bai himself; (2) There are similarities and differences between various old manuscripts, which may be due to the fact that the manuscript edited by Bai himself is not a manuscript. Therefore, it is actually very difficult to discuss the right or wrong of words.

The article STOW Library Collection18,82 is a revision of the original texts of The Legend of the Song of Eternal Sorrow and The Song of Eternal Sorrow based on the author's research on the old manuscripts for many years. Attached are models of Kanazawa Library Edition and Song of Eternal Sorrow collected by Dr. Kanda.

In the above research, Ota not only discussed the real features of Japanese old manuscripts, but also inferred the actual situation of Tang Dynasty manuscripts and Northern Song Dynasty publications.

At the beginning of my manuscript, the author said that the academic circles in China have paid little attention to Naboben, and the collation materials do not include the old Japanese manuscripts. When the domestic academic circles mention the rare edition of Bai Wen Ji, it is the Shaoxing edition of the Southern Song Dynasty. The tendency of China academic circles not to attach importance to the rare books left by Japan (or not to know the fact that there are rare books left by Japan) may also be seen from the attitude towards the version of Liu Zongyuan Collection. Chinese academic circles think that Liu Zongyuan's "Five Hundred Notes" is incomplete (according to articles such as the postscript of Liu Zongyuan's collection proofreading by Zhonghua Book Company). However, according to two versions of Liu Zongyuan (Hsi Chin Memorial Collection of Fengpingshan Library, 82) collected by Shimizu from Japan, Japan left several copies with 500 notes.

If the academic circles of the two countries can more actively promote the exchange of information and intelligence in the future, we can avoid wasting time.

However, as for Bai Wen's anthology, it may be that the Japanese academic circles excessively praised the old manuscript, which caused the resistance and contempt of China academic circles. Because Ota discussed the essence of the old manuscripts in such a concrete way, the superiority of Shaoxing Edition of Southern Song Dynasty is more clear than before. It can be said that it is time for scholars from both countries to abandon their prejudices and promote the collation of Bai Wen's anthology.

Ota's recent article "On the Existing Old Transcripts of Chinese Characters in China —— Centering on the White Anthology" (Daya Studies 9, 88, 3) points out to the academic circles in China that all kinds of old transcripts left by Japan, like Dunhuang manuscripts, are very useful and valuable materials for discussing the actual situation of transcripts in the Tang Dynasty before the Northern Song Dynasty. There are many similarities and differences between these old manuscripts, which are mainly due to two reasons. One is the changes in the circulation of his works before the establishment of the fifty-volume edition, and the other is the changes made by Bai himself after the establishment of the fifty-volume edition. Finally, the author emphasizes that scholars of the two countries should not simply regard the old manuscript as an opposing version, but should make joint efforts to further improve the collation level of the old manuscript.

These articles of OTA have not been collected into a book. The research works of "Looking at Big Ben" include "A Study of Looking at Big Ben and White Collection" (small book, Miancheng Society No.32).

Collating "Bai Wen Ji" by inheriting Ota's method. He has published "On the Photographing of the National Central Library of Taiwan Province Province in the Ming Dynasty (Bai Selin)" (Orientalism 6 1, 8 1. 1), "On the Triennial of Qing 'an (New Yuefu)" (Japanese Chinese Society newspaper 34,82.10), and.

Second, the study of poetry.

First, satire.

Before the war, Takeo Suzuki translated Bai Letian's poems. See chapter 6.

Kaneda Kiichiro is reading a poem by Bai Letian. (Journal of Orientalism 15-3, 46.5438+0 1. The Complete Works of Kanda Kiichiro (83. 1 1) is an article in which Kanda, as the leader of the proofreading class of Bai's Anthology, provides translation examples at the beginning of Bai's Anthology.

Since then, the study of satirical poetry has been concentrated in the fifties, and less in the sixties.

This phenomenon may be related to the fact that the Japanese people established a democratic Japan based on the experience of defeat, while the China people and the Republic were just born. Especially in the first half of 1950s, there was an obvious tendency to praise Bai Juyi's satirical poems as poems exposing and satirizing corrupt social phenomena.

Bai Juyi's Literature in Xiushu Greenhouse (on Lin 3-5, 565, 438+0.5, 3-6, 565, 438+0.6). The article Bai Juyi's Research by the World Thought Society (7 1) has a very heated discussion about Bai Juyi's pursuit of "quietness" in order to overcome the social crisis at that time and his voluntary revival of "poetic way" when the tradition of the Book of Songs ("quietness" in the poetic world) is dying out.

Masao Takeji's article "Elegant Tradition and White Poetry" (Research Summary of Tokushima University: Humanities 2,53.2) gave the highest praise to Bai Juyi's new Yuefu, which was considered to be the characteristic of his deep sympathy for the people's sufferings. Because of his creation of these poems, he greatly revived the elegant tradition of The Book of Songs.

Beowulf, a French literary scholar, said in his book Selected Poems of Tang Dynasty (Yanbo Bookstore, 54.5) that Bai Letian's satirical poems are the treasures of mankind.

Bai Letian, the Popular Poet (Yanbo Bookstore, 56), the former photo of the leader of the Socialist Party, is also a symbol of the same phenomenon of Japanese ideological situation in this period.

In the second half of the 1950s, more calm and objective articles appeared than before. The following articles do not agree with China academic circles' evaluation of Bai Juyi's satirical poet, realistic poet or people's poet.

The article "Bai Juyi and His Times" (Shi Jiao 6 16, 58.6) by Tanaka Keji points out that Bai Juyi devoted his enthusiasm to satirical poems for a short time, and made no mention of the most important issues, such as eunuch arbitrariness and party struggle between Niu and Li.

The article "Satire Poems about" written by Chunxiong Kondo (Lin 2, 58.7, Institute of China Literature, Aichi Women's University) emphasizes that satire poems are closely related to Zuo Shiyi's official position, which is not only the expression of his willingness to help others, but also the expression of his desire to make contributions.

In the book "Bai Letian's Literary Theory and Its Propositions" (Respect for Literary Society 6 1, published in Bai Letian Research of Chunqiu Society No.69), Di Liuji thinks that Du Fu's poems are due to the seriousness of tragic circumstances, while Bai Juyi's satirical poems are due to his sense of mission as a remonstrator rather than reality.

Xin Haiyi's article Understanding of Bai Letian's Love —— Centering on Satire (A Silver Bottle at the Bottom of a Well) (Journal of the Chinese Language Society of National University13,62.6) states that Bai Letian is a theorist who wants to transform society, and his practice is not thorough, while Satire is a poem based on six meanings of retro, which cannot be regarded as a realistic work.

Bai Juyi's "Suzuki Town One" New Yuefu Movement: Focus on selling charcoal (Chinese classroom 100, 7 1). In the article On Poets in Tang Dynasty published by Yu Feng (73.4), it is discussed that what Bai Juyi recited in Selling Charcoal Weng was a well-known fact at that time. Bai Juyi's new Yuefu was the last burning performance of literature in the middle Tang Dynasty, and the omen of satirical spirit decline can be seen in his works.

Takeo Hiraoka's "Hundreds of Monasteries-Notes on Bai Anthology" (a collection of literary linguistics commemorating the retirement of 74-year-old Professor Inya) and Bai Juyi's "New Yuefu" (China Literature Society of Japanese University, Sinology Studies,1.12,7538+0). Bai Juyi's satirical poems echo the viewpoints put forward in his works Classic Book and Classic Tradition, and both of them are permeated with a unique viewpoint, that is, Bai Juyi's satirical poems are the crystallization of the culture of a country with China characteristics and the expression of "world outlook".

Recent research has the following articles.

The essay Shen Li Shi Hua written by Akai Yoshihisa takes Yuan Zhen as the main clue to discuss the content and writing background of Li Shen's Twenty Poems of Yuefu. The author points out that his themes are all about foreign nationalities, such as diplomacy, buffer regions and border defense. His creative background is different from that of those who were in charge at that time because of different foreign policies.

His satirical genealogy of the poetry circles in the Middle Tang Dynasty (12,81.3) discusses the background of Bai Juyi's satirical poems from the perspective that Bai Juyi's satirical poems would not have anything to do with the social situation, other poets and literary views at that time. The author discusses ten classifications of (1) Yuan Zhen's Poems from Heaven. Although the classification is centered on "satirical poems", the classification is too scattered and chaotic. Bai Juyi's classification is a concise classification, which brings his literary activities into his field of vision. In particular, his classification of "leisure poetry" which complements "satirical poetry" is worthy of special study. Yuan Zhen's "Shang Yang White-haired Man" and other works are literature specially serving politics, that is, "satirical poems". In this regard, the theme of Bai poetry is more extensive and artistic, and its readers include the people. He really opened up a new realm of satirical poetry. (2) As the predecessors of He Yuanzhen, Wei and Gu Kuang influenced Bai Juyi's new Yuefu. The satirical poems in Gu Kuang's Thirteen Huayang Poems and The Book of Songs have the same effect, which has a great influence on white poetry. Finally, the author reveals a picture of friends in the middle Tang poetry circle centered on satirical poems, which is helpful to understand the specific background of Bai Juyi's creation of new Yuefu.

His article "Wei and Satire Poetry as the Center" (Journal of the National Academy of Sciences 81-5,80.5) points out that Bai Juyi's new Yuefu is not only influenced by Du Fu, Yuan Zhen and other works, but also greatly influenced by Wei's songs and miscellaneous styles in form and materials.

In the article "On Bai Juyi's New Yuefu" (160,88.5), Xiufu, a monk, pointed out that the creation of 50 new Yuefu poems was not only to criticize social corruption, but also to intentionally surpass the artistic level of in my heart forever, a poem popular from the Six Dynasties to the Tang Dynasty.

2. The study of everlasting regret and pipa.

(1) About everlasting regret

The biggest problem in the study of Song of Eternal Sorrow is the theme of Song of Eternal Sorrow. Most Japanese scholars believe that its basic theme is the praise of love.

Before the war, Takeo Suzuki wrote poems in Bai Letian (Hong Wen Hall, 27. Hong Wen Hall in Tokyo, reprint 67) said that "Song of Eternal Sorrow" tells the story of Emperor Xuanzong of the Tang Dynasty and Yang Guifei. Don't believe that it has the intention of' punishing stunners and teaching obscenity'. If it is, it is a failure. "

Kojiro, Ji Chuan, continuation of Selected New Tang Poems (Yanbo Bookstore, 54.5). The Complete Works of Ji Chuan and Kojiro (Volume 1 1, 73) is based on the deep sympathy for their love.

The article "On the Song of Eternal Sorrow" (abstract of Aichi Women's Short-term Work University 6,55.12) said that it sang the love world between Xuanzong and Yang Guifei, and the theme was the song of Eternal Sorrow that Xuanzong missed the imperial concubine and died sadly.

In addition, related to the debate on the theme, there is also a debate on the interpretation of the ending sentence of "Song of Eternal Sorrow".

Ji Chuan's above-mentioned works interpret "this enmity" as "an affair between two people".

Harada's Song of Eternal Sorrow (Chinese Classroom 33,57.6438+01) pays attention to the hidden thoughts of Zuozhuan for three years, and interprets "this hatred" as Xuanzong's saying that "the imperial concubine died in a ponytail and had to wander in another world".

For Harada's theory, osamu suzuki put forward his own views in the article "Eternal Hatred" (Chinese Classroom 34, 58.438+0). Take the use cases of Bai Letian and the Tang and Five Dynasties as an example, the meaning of "hate" is very wide, for example, the meaning of "love" is similar.

The last chapter of the song of everlasting regret and the meaning of lotte (13,62.6, Chinese language classroom of Chinese studies) says that "hate" is Xuanzong's endless yearning for the imperial concubine.

Ghana likes the article "On the Theme of Li Tie Biyi" (Chinese Classroom118,76), and quotes the sentences of "Li Bian" and "Biyi". "We hope to fly in heaven, two birds will become one and grow together on the earth, and two branches of a tree." In Song of Eternal Sorrow, it is discussed that it is a symbol that men and women can't be combined in the real world, but they can be combined on the other side after death, and it is also an auspicious symbol that Wang De's educational career is booming.

"Hatred" and "Hatred" in Yujiu Matsuura's Poetic Language —— Focusing on Poems Forever in My Heart (China Literature Research 3,777.38+02). Yan Wen published "Notes on Tang Poetry: All Aspects of Poetry Language" (8 1.4), which deeply discussed the meaning difference between "resentment" and "hate". The author points out that subjectively, it is possible to solve difficulties but not solve them, resulting in a feeling of "resentment" and lamenting that difficulties cannot be solved, resulting in a feeling of "hate". Regarding the "hate" in Song of Eternal Sorrow, the author thinks that Harada's view is too incisive, while Suzuki's view ignores the differences in meaning and usage between the two languages. It is also helpless to discuss the things that the imperial concubine can never live again with the power of the emperor, so it should be Song of Eternal Sorrow instead of Song of Eternal Sorrow.

In China's Exploration of Human Nature (83.2), Kawaguchi Kangsan pointed out that the first half and the second half have a plot of "seeking-gaining-losing", and the first half and the second half have a corresponding relationship based on this plot. The author said that in the first half, things in heaven were compared to things on the ground, while in the second half, things in heaven were compared to things in the celestial world. Moreover, the image of the imperial concubine is only a woman favored by the emperor in the first half, but a woman who actively pours out her love in the second half. The Song of Eternal Sorrow shows the world in which men and women love each other.

In Selected Poems of Tang Dynasty (published by Japan and China, 83. 1 1), such as Gu Jianjie, gave a detailed explanation of Song of Eternal Sorrow. The author thinks that Song of Eternal Sorrow is a pure love tragedy. Bai Juyi bravely recited the new Yuefu, which criticized the political corruption at that time. His brave spirit turned the autocratic monarchy into a universal love story of mankind.

This paper puts forward some suggestions on Wen Zi Nishimura's Song of Eternal Sorrow (Collection of China Studies by Dr. Kanda Kiichiro, 86. 12): (1) The greatest feature of Song of Eternal Sorrow is fantasy; (2) Bai Juyi himself classified Song of Eternal Sorrow as "sentimental poem", which proved that the purpose of his writing Song of Eternal Sorrow was not satire; (3) Therefore, the last narrative of Song of Eternal Sorrow is an unreasonable lie; (4) The fantasy with such a rich and beautiful ending may be influenced by Wang Zhifu, a Taoist priest in Xianyou Mountain.

(2), everlasting regret song

In the article "On the Biography of Eternal Sorrow" (a summary of Aichi Women's Short-term University on April 4, 54), Chunxiong Kondo put forward his own views on the discussion of Eternal Sorrow. The author said: (1) The original biography is a short article recorded in Taiping Guangji. In order to make his works popular with the Song Dynasty, Chen Hong pretended to be a temple fair in Xianyou, rewritten his biography and included it in Wenyuan. (2) "Chuan" includes "Note" and "Chuan", but the emphasis is on the latter.

In this regard, the article "Book Review on the Song of Eternal Sorrow by Kondo" (2,55.4 in China Literature) by Huajian Hideki said that the original biography was an article by Huaying in Yuan Wen, and "biography" means "annotation".

In this regard, Kondo reiterated his views in two articles: On the Song of Eternal Sorrow (summary of Aichi Women's Short-term University 6,55.12) and Bai Letian and Novels of the Tang Dynasty (same as 9,58.12). This time, regardless of the sequence of Taiping Guangji and Wenyuan Huaying, the author insisted on going to Xianyou Temple.

Bai Letian and Novels in the Tang Dynasty (Abstract of Aichi Women's University 9,58.38+02). A Study of Novels in the Tang Dynasty 78, 12 Chapter 1 Section 2:) The article states that Song of Eternal Sorrow is full of stories, which is the result of the influence of popular proverbs at that time. The structure of Song of Eternal Sorrow is similar to legend, which provides a very favorable condition for writing the Biography of Song of Eternal Sorrow.

Naoki Maeno introduced their arguments in Song of Eternal Sorrow and Biography of Song of Eternal Sorrow (66. 1 1). As for the original text, they agree with the theory of greenhouse origin, and as for the significance of biography, they agree with Kondo's theory of "legend", and then take Song He's biography as a clue to reveal the general situation of Tang legend.

This paper makes textual research on the Biography of the Song of Eternal Sorrow (Waseda University Academic Research 24- Chinese Literature Part I, 75) written by Xi, and points out that the Biography of the Song of Eternal Sorrow has a clear intention to describe the political chaos caused by the monarch's infatuation with women, so as to carry forward the monarch's virtue, and thus it is concluded that the Biography of the Song of Eternal Sorrow and the Song of Eternal Sorrow with love as the theme have fundamentally different creative purposes.

(3) Preface to Eternal Sorrow

The preface to the song of everlasting regret is a 270-word preface, which begins with "Yang Guifei, the song of everlasting regret" and ends with "it is still said that Xuanzong and Guifei live together as a couple". Its content is dedicated to praising the love between the two. During the edo period, there were many periodicals with forewords. At that time, people thought it was the preface of Bai Letian.

Preface to Eternal Sorrow by Haruki Kondo (Aichi Women's University, Shuolin 4.59.6), Questions about Ancient Manuscripts of Eternal Sorrow by Yasuo Fukuda (Tokyo Zhina Magazine 8.6 1.6), Preface to Eternal Sorrow by Keio Ota (Orientalism 69.38+)

(4) Pipa Xing is not as popular as Song of Eternal Sorrow, so there is little research on Pipa Xing. In Japan, the main researcher is Hareo Kondo.

The article "Talking about Pipa" by Haruki Kondo (7, 56. 12, summary of Aichi Women's Short-term University) said that the sadness of advocating women's abandonment in Pipa was the sadness of Bai Juyi's relegation. China-On the Pipa (Shuo Lin 12, 64.2) says that the pipa is a kind of poem that chants about women and complains about their misfortune, so it can't arouse people's sympathy like Song of Eternal Sorrow.

There are also articles about Pipa Xing written by Kondo, besides "About Pipa Xing-Similarities and Differences of Characters I" (Shuolin15,67.2), "Pipa Xing of Eternal Sorrow and the Treasure of Ancient Documents" (Meiji Academy Quarterly, New Interpretation of China Literature Department, Treasure of Prehistoric Ancient Documents 67) and so on.

Qing Chuan's Pipa Xing Chuan and Yuan's Pipa Qu (Summary of Arts and Sciences Department of Ibaraki University, Humanities 7,57.3) discussed the literary characteristics of Pipa Xing, and put forward different views on Chen's Shi Hua. The author said that (1) poetry's singing of life and the artistic beauty of pipa performance are integrated, which is better than Yuanqu. (2) The two poems are written by inheriting the tradition of ancient Yuefu, so there are similarities between the two poems, not as Chen Yinque said.

Chunxiong Kondo's research on "Song of Eternal Sorrow" and "Pipa Travel" was revised into a book "Study on Song of Eternal Sorrow and Pipa Travel" (Meiji Institute, 8 1.4).

In the above-mentioned book, Kensuke Yagi also provides an explanation of Pipa Travel, pointing out that its deep theme is infinite grief for Chang 'an, the imperial capital.

(5) Others

This paper makes textual research on Wang Zhaojun's poems, especially Bai Juyi's poem "I" (80. 1 1), and combs Wang Zhaojun's own works and poems praising Wang Zhaojun in the Ming Dynasty. It is considered that the theme is mostly leaving the palace and leaving the sorrow, but there are some in Bai Juyi's Yuefu.

3. Gossip poems and the influence of Tao Yuanming.

Many people have loved Bai Juyi's leisurely poems since ancient times, but the research on such poems has only recently begun.

In the past (1), most scholars referred to poems such as leisure poems as leisure poems, and thought that leisure poems had no clear classification language status, which accounted for one of the three major classifications of ancient styles. (2) The leisure poems belong to satirical poems; (3) It is considered that leisure spirit has nothing to do with fame and fortune, and its nobleness is often emphasized.

Recently, there have been articles criticizing these views.

Wen Zi Nishimura's article "On Bai Juyi's Leisure Poems-When Xia Yi retired" (Professor Gutian retired to commemorate China's literary linguistics, 85) said that Bai Juyi put forward the classification of leisure poems and publicly advocated the significance of leisure poems, which can be said to be an epoch-making event in the history of China literature. Starting with recluse poetry, this paper systematically discusses the end of leisure poetry. The author lists the use cases of "leisure", "clumsiness" and "laziness" as well as the performance of admiring Tao Yuanming, and discusses that although the leisurely poems in this period have a leisurely mood on the surface, the poet's mood is actually not leisurely, which contradicts the concept of leisurely poems mentioned in Jiu Shu Tong Yuan.

Guan Ye's article "Carelessness and Clumsiness in Bai Juyi's Poems (I)" (Chinese Classroom 1 52,85.9) holds that (1) the word "carelessness" frequently appears in leisure poems, which deserves attention. This kind of "carelessness" is not a simple manifestation of dissatisfaction and laziness, but a manifestation of willingness to live in tolerance regardless of wealth; (2) Before writing satirical poems, he had this desire. He devoted himself to writing satirical poems as well as leisurely poems, which seemed to be the opposite of satirical poems. (3) According to Nine Books of Yuan Zaju, the two concepts of aid and kindness are inseparable, and there is no relationship between satirical poetry and leisure poetry based on it.

Guan Ye pointed out in his next articles (attached 153 and 85. 12) that Bai Juyi's use of words such as "carelessness" and "clumsiness" was not only influenced by Tao Yuanming, but also the result of his attitude towards Ji Kang all his life.

The author thinks that the "carelessness" mentioned by Nishimura is not necessarily limited to Bai Juyi's definition, and the meaning of "carelessness" mentioned by Guan Ye should be understood according to Bai Juyi's own definition. They all discuss leisure poems according to Bai Juyi's definition. However, the question of what leisure poetry is should be discussed from its reality.

In the article Bai Juyi's Coming to Chang 'an-Noisy and Leisure (Orientalism 54, 85. 1 1), Kawaguchi discussed how Bai Juyi overcame his loneliness in the noise of Chang 'an. The author points out (1) that Han Yu is determined to "learn from the past" to ensure his identity and restore his self-confidence. (2) Bai Juyi's leisure is only possible after he has gained a certain "fame and fortune".

Ding Yahong's "Bai Juyi's Leisure Poems-Theory and Changes" (Essays on Fantasy Humanities in the French Department of Kagoshima University, 25, 87, 3) discusses the nature and changes of leisure poems and the reasons for the formation and extinction of three kinds of ancient styles.

At first, the author picks out several concepts that constitute leisure poetry, such as "Vanity Fair in Imperial Capital" and "contentment is always happy", and discusses how these concepts change in different periods, and then points out the following points: (1) In Jiangzhou's relegated life, he needs to affirm his desire to return to Beijing and his desire to retire, so he conceives irony and non-irony according to Mencius' theory of ji ji's kindness. (2) When Yamato compiled five volumes of Postscript in the second year, he gave up the problem of three classifications and returned to the greenhouse.

Is due to the reduction of old sayings. The tendency of ancient prose in Hangzhou secretariat has already seen three kinds of signs of disappearance. There are no satirical poems in the classical poems written in Hangzhou, but leisure poems dominate the classical poetry world. This not only means that the meaning of the classification of satirical poems disappears, but also means that the meaning of the classification of leisure poems disappears at the same time, because the reason why leisure poems dominate the ancient world lies in the weakness of helping others, and the concepts of satirical poems and leisure poems were originally formed on the basis of fierce ideological contradictions between them.

Bai Juyi's leisure poems by Takamu Chongjun (East Book Mandarin 273,87.6) don't think that leisure poems are under satirical poems, saying that "satirical poems show the" public "side of literati, while leisure poems show the" private "side of literati." His article "Bai Juyi (Nine Books Same Yuan)-[Satire Poems and Leisure Poems]" (China's literary theory was collected by Ji Gu Academy in 87.9) briefly discusses Bai Juyi's literary theory based on "Nine Books Same Yuan".